Save the Date: PCA Talks Fall 2018

Every semester, PCA invites a group of experts from different creative/technological fields to share their knowledge and experiences with the PCA community. These talks are designed to foster knowledge, sharing and casual conversation with experts, researchers, and artists. PCA Talks are open to all!

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Sue Dray / Life of drawing

Tuesday, September 25, 6:30 - 8:00 pm

Sue Dray has illustrated over 40 years working for groundbreaking feminist publications Spare Rib and The Women’s Press, now archived in The British Library.

Through the 80s she’s been published extensively with high profile authors such as Fay Weldon, Margaret Atwood and John Mortimer. Sue Dray draws backstage for Vivienne Westwood and Andrew Logan’s Alternative Miss World in a signature style that combines strong lines with painterly textures and bright, contrasting colour. Sue’s current work is producing drawings commissioned exclusively live from the Catwalk. She experiments with digital drawing as a preferred tool when drawing live focusing on the haptic of creating. She was the first artist in residence for Fashion Scout SS18 during London Fashion Week painting live from the shows at her easel alongside the press photographers. This summer she was Artist in Residence and Creative Contributor at The Villa Lena Arts Foundation in Tuscany, Italy. This gave Sue the opportunity to explore her work in more detail taking the history and influences of the culture as inspiration. Sue’s teaching history is extensive she has taught in the UK, Australia and America. She was Course Leader BA (Hons) Fashion Illustration at London College of Fashion for the past 7 years and will continue to contribute as a guest lecturer fueling and nurturing the next generation of fashion artists.

Kate Macfarlane and Jack Southern / The Duration of Drawing: The sustained power of Drawing in the digital age

Jack Southern’s creative work spans teaching, research and writing, as well as a significant exhibition history as an independent artist showing nationally and internationally. Through his research interests and writing on contemporary Drawing practice, Southern has also managed large-scale collaborative projects bringing together a diverse range of activities such as exhibition making, artists’ in-conversations, discussion and practical workshops. Key examples include Drawing Through Time and Image at Hardwick Gallery, Cheltenham (2018), Time / Image / Construction (2016) and ‘Drawing making, Making drawing’ (2014), which both took place at Drawing Room, London. Southern devised, co-ordinated and curated these projects, working closely with artists including Cornelia Parker, Charles Avery, Dryden Goodwin, Barbara Walker, Franziska Further, Claude Heath, Tim Knowles, Gemma Anderson, Jessie Brennan and Emma Stibbon.

Image: A Slice through the World at Drawing Room; a collaborative exhibition between Drawing Room London, and Modern Art Oxford (Drawing Room – 13th June – 9th September 2018) Image courtesy of Drawing Room, 2018. Photographer Damian Griffiths

Lisanne van Happen / Social Photography

Tuesday, November 6, 6:30-8:00 pm

Lisanne van Happen is a Dutch freelance curator, producer and fundraiser specialized in the field of documentary photography with a particular interest in social issues.

Over the last five years, she has worked for the art academy AKV|St.Joost, Docking Station in Amsterdam and was involved in several collaborations with photographers and other creative professionals. Lisanne has (co-)curated and produced several exhibitions and programs at FOTODOK such as Beyond Us and Them (2017), Belief, on the Move (2016) and There is Something about my Family (2016). Currently, she is doing a Masters studies in Sociology at Utrecht University.

During the PCA talks, Lisanne will focus on the social aspects of photography. The rapidly changing relationship we have with photography has a significant influence on the position of the modern photographer. In which way do today’s photographers have to deal with questions regarding the relationship between photographer, subject and public? And why would you visualize your position and intentions within a project?